Notes
1 I took this title from one of JE’s youtube clips. The common misreading of this phrase seemed even more relevant than usual, since it speaks to the idea of intensivity in language practice, a language with no external ends, but rather, all intensive purposes.
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2 There is also a related practice called ‘hot reading,’ which involves surreptitiously acquiring background information from the subjects prior to the reading. While this technique is likely to produce more astonishing results for participants, it is kind of uninteresting in terms of writing practice. In hot reading, language remains tied up in tropes of representing, and lacks any real sense of process, which is so important to conceptual writing practices. ‘Warm reading’ is a combination of the two kinds of ‘reading.’
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3 In his talk “Being Boring,” Goldsmith claims that he would never subject an audience to an extended reading of his work, at least ‘not without a fair warning, giving you an out, a chance for you to edit the dull parts by fast forwarding, leaving the room, or switching me off.
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4 Goldsmith describes nonexpressive poetry as “a poetry of intellect rather than emotion… meticulous procedure and exhaustively logical process” (Letter: 10).
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5 Missing legs seem to appear repeatedly in Edward’s writing. Though a missing leg can also mean: paralysis, a leg problem, not being able to walk, etc.
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